7edo: Difference between revisions

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}}

== Theory ==

[[File:7edo scale.mp3|thumb|A chromatic 7edo scale on C.]]

7edo unifies the seven modes of the [[5L 2s|diatonic]] ~~scale – Ionian~~, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and ~~Locrian – into~~ a single one: 7edo can be used as an interesting diatonic scale choice as well in tunings such as [[14edo]] or [[21edo]]. There is a [[interval quality|neutral]] feel somewhere between a [[6edo|whole tone scale]] and major/minor diatonic scale. The second (171.~~429¢~~) works well as a basic step for melodic progression. The step from seventh to octave is too large as a leading tone. Possibly lending itself to a "sevenplus" scale similar to [[elevenplus]].

7edo unifies the seven modes of the [[5L 2s|diatonic]] scale—Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian—into a single one: 7edo can be used as an interesting diatonic scale choice as well in tunings such as [[14edo]] or [[21edo]]. There is a [[interval quality|neutral]] feel somewhere between a [[6edo|whole tone scale]] and major/minor diatonic scale. The second (171.429{{c}}) works well as a basic step for melodic progression. The step from seventh to octave is too large as a leading tone. Possibly lending itself to a "sevenplus" scale similar to [[elevenplus]].

=== Prime harmonics ===

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In [[equiheptatonic]] systems the desire for harmonic sound may dictate constant adjustments of intonation away from the theoretical interval of 171 cents. (Similar to [[adaptive just intonation]] but with equal tuning instead).

One region of Africa in which a pen-equidistant heptatonic scale is combined with a distinctively harmonic style based on singing in intervals of thirds plus fifths, or thirds plus fourths, is the eastern [[Angolan]] area. This music is [[heptatonic]] and non-modal; i.e., there is no concept of major or minor thirds as distinctive intervals. In principle all the thirds are neutral, but in practice the thirds rendered by the singers often approximate natural major thirds ([[5/4]], 386 ~~cents~~), especially at points of rest. In this manner, the principles of equidistance and harmonic euphony are accommodated within one tonal-harmonic system.

One region of Africa in which a pen-equidistant heptatonic scale is combined with a distinctively harmonic style based on singing in intervals of thirds plus fifths, or thirds plus fourths, is the eastern [[Angolan]] area. This music is [[heptatonic]] and non-modal; i.e., there is no concept of major or minor thirds as distinctive intervals. In principle all the thirds are neutral, but in practice the thirds rendered by the singers often approximate natural major thirds ([[5/4]], 386{{c}}), especially at points of rest. In this manner, the principles of equidistance and harmonic euphony are accommodated within one tonal-harmonic system.

A [[Ugandan]], [[Chopi]] xylophone measured by Haddon (1952) was also tuned something close to this.

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! rowspan="2" | [[Cent]]s

! rowspan="2" | [[Interval region]]

! colspan="4" | Approximated [[JI]] intervals ([[error]] in [[¢]])

! colspan="4" | Approximated [[JI]] intervals ([[error]] in [[`¢]])

! rowspan="2" | Audio

|-

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{| class="wikitable center-all"

|+ ~~<span~~ style="font-size: 105%">Notation of 7edo~~</span>~~

|+ style="font-size: 105%;" | Notation of 7edo

|-

! rowspan="2" | [[Degree]]

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 }}
 {{Infobox ET}}
-{{EDO intro}}
+{{ED intro}}
 == Theory ==
 [[File:7edo scale.mp3|thumb|A chromatic 7edo scale on C.]]
-edo unifies the seven modes of the [[5L 2s|diatonic]] scale – Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian – into a single one: 7edo can be used as an interesting diatonic scale choice as well in tunings such as [[14edo]] or [[21edo]]. There is a [[interval quality|neutral]] feel somewhere between a [[6edo|whole tone scale]] and major/minor diatonic scale. The second (171.429¢) works well as a basic step for melodic progression. The step from seventh to octave is too large as a leading tone. Possibly lending itself to a "sevenplus" scale similar to [[elevenplus]].
+edo unifies the seven modes of the [[5L 2s|diatonic]] scale—Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian—into a single one: 7edo can be used as an interesting diatonic scale choice as well in tunings such as [[14edo]] or [[21edo]]. There is a [[interval quality|neutral]] feel somewhere between a [[6edo|whole tone scale]] and major/minor diatonic scale. The second (171.429{{c}}) works well as a basic step for melodic progression. The step from seventh to octave is too large as a leading tone. Possibly lending itself to a "sevenplus" scale similar to [[elevenplus]].
 === Prime harmonics ===
@@ Line 23: / Line 23: @@
 In [[equiheptatonic]] systems the desire for harmonic sound may dictate constant adjustments of intonation away from the theoretical interval of 171 cents. (Similar to [[adaptive just intonation]] but with equal tuning instead).
-One region of Africa in which a pen-equidistant heptatonic scale is combined with a distinctively harmonic style based on singing in intervals of thirds plus fifths, or thirds plus fourths, is the eastern [[Angolan]] area. This music is [[heptatonic]] and non-modal; i.e., there is no concept of major or minor thirds as distinctive intervals. In principle all the thirds are neutral, but in practice the thirds rendered by the singers often approximate natural major thirds ([[5/4]], 386 cents), especially at points of rest. In this manner, the principles of equidistance and harmonic euphony are accommodated within one tonal-harmonic system.
+One region of Africa in which a pen-equidistant heptatonic scale is combined with a distinctively harmonic style based on singing in intervals of thirds plus fifths, or thirds plus fourths, is the eastern [[Angolan]] area. This music is [[heptatonic]] and non-modal; i.e., there is no concept of major or minor thirds as distinctive intervals. In principle all the thirds are neutral, but in practice the thirds rendered by the singers often approximate natural major thirds ([[5/4]], 386{{c}}), especially at points of rest. In this manner, the principles of equidistance and harmonic euphony are accommodated within one tonal-harmonic system.
 A [[Ugandan]], [[Chopi]] xylophone measured by Haddon (1952) was also tuned something close to this.
@@ Line 51: / Line 51: @@
 ! rowspan="2" | [[Cent]]s
 ! rowspan="2" | [[Interval region]]
-! colspan="4" | Approximated [[JI]] intervals ([[error]] in [[¢]])
+! colspan="4" | Approximated [[JI]] intervals ([[error]] in [[`¢]])
 ! rowspan="2" | Audio
 |-
@@ Line 138: / Line 138: @@
 {| class="wikitable center-all"
-|+ <span style="font-size: 105%">Notation of 7edo</span>
+|+ style="font-size: 105%;" | Notation of 7edo
 |-
 ! rowspan="2" | [[Degree]]